Tuesday 31 October 2017

ALBUM REVIEW: Chivo Negro - "Volume Death"

By: Ernesto Aguilar

Album Type: Full length
Date Released: 13/10/2017
Label: Avandadoom Records

Volume Death" is, a valuable new entry to the Mexican doom metal milieu, and this trio ensures you feel every bit of the chill its vision puts forward. 

"Volume Death" DD track listing

1. I. Descend
2. II. Culto del Chivo Negro
3. III. Hypnos
4. IV. Enki
5. V. Reverse Inquisition
6. VI. Ascend

The Review:

One of the worst kept secrets – though still a secret, perhaps due to language barriers, or assumption thereof, since many perform multilingual songs – are the number of high quality, metal, punk and extreme music acts in Mexico. In addition to the widely loved Brujeria, the Mexican heavy spectrum includes everything from Leprosy to Asesino, Introtyl to the emerging crop of new performers, like doom metal three-piece Chivo Negro (in English, "Black Goat"). Hailing from Sinaloa, Chivo Negro has a high bar to reach. Some of the most widely recognized musicians in not just Mexico but all of Latin America, and whole genres of music such as banda, came from Sinaloa. The state has currency in English-language popular culture as an epicenter of the narcotics underworld and ghastly violence, too. No ultraviolence here, however. In the case of Chivo Negro, the action is molasses dense and psychedelic.

The group debuts with its full-length, "Volume Death," as an entirely instrumental affair. You read that right. Not a single lyric is presented on Chivo Negro's introduction to international metal. Other than sampled clips offering continuity, there are no vocals. This sort of step is incredibly risky: band chemistry and song orchestration both become everything and a misstep can sink whole songs or the entire release.

As with any good doom record, "Volume Death" brings audiences a large, ambitious concept. The squad wants to tell a tale of the destruction in religion, nature and humanity wrought by human and otherworldly forces. Because such is a common theme in the genre, the music should reasonably be expected to stand out far more.

Although it is solidly a doom/sludge band, Chivo Negro also features a considerable dose of drone as well as classic metal in its debut album. Rhythmic drumming courtesy of Abel Lizarraga steadies the swells of mood throughout. With the opener, "I. Descend," distortion and dark psych start us off. The air is oppressive as Lizarraga crashes the kit again and again. Even without lyrics, the trio makes sure you feel every bit of the chill its vision puts forward. "II. Culto del Chivo Negro" has one of those aforementioned clips, but it's nearly forgotten when Ramon Arellano's guitar rips into a gargantuan chord. That progression repeats, as bassist Fausto Arellano joins the drums for a tremendous psychedelic jam.

Where Chivo Negro lacks in lyricism they make up for in deep, sheer power. "III. Hypnos" continues the low tunage and noise as the group gets into more of a drone doom mode. "IV. Enki," regarded among some as one of the album's best cuts, continues the drone doom method. At 13 minutes, it is the biggest song on "Volume Death," The sparse arrangement is nonetheless lumbering in that classic doom metal way. As Chivo Negro's last tracks descend, a big question may be what it does with a full-on vocalist, or if this will remain the group's ultimate format, in the spirit of bands like Major Kong. "Volume Death" is, either way, a valuable new entry to the Mexican doom metal milieu.

"Volume Death" is available here

Band info: bandcamp || facebook

REVIEW: Maximum Mad - "Dear Enemy" [EP]

By: Charlie Butler

Album Type: EP
Date Released: 16/09/2017
Label: Good to Die Records

Maximum Mad’s relentless riff generation makes for an exhilarating ride reminiscent of mighty Florida Helmet enthusiasts Wrong, they take the blueprint for dirty, riff-heavy racket from the 90s and 00s and wrench it breathlessly into the present on debut EP “Dear Enemy

“Dear Enemy” CS//DD track listing:

1. Affluenza
2. Lucky Coward
3. Active Aggressive
4. Unmanned
5. Weird Hand
6. Obscene Gestures

The Review:

Portland / Vancouver (DC) quartet Maximum Mad are the latest band to take the blueprint for dirty, riff-heavy racket from the 90s and 00s and wrench it breathlessly into the present on debut EP “Dear Enemy”. Like many of the current glut of noise rock acts making their presence felt in the underground, their lack of originality is rendered completely irrelevant by the sheer quality of their sonic assault.

Maximum Mad’s relentless riff generation makes for an exhilarating ride reminiscent of mighty Florida Helmet enthusiasts Wrong. This is particularly evident on “Unmanned” where they also channel some of Torche’s thunderous pop majesty for good measure.

Elsewhere, the band deliver concise hits of churning Melvins-style grunge fury to great effect. “Affluenza” is the best example of this, bolstered by a brief section of warped, reverb-heavy melody towards its climax that brings to mind the much-missed These Arms Are Snakes. The sleazy groove of “Active Aggressive” shows Maximum Mad are equally as effective at delivering lumbering menace as they are operating at full throttle

Closer “Obscene Gestures” throws in a dose of thrash into the mix which spices things up nicely. I like to think this is a little nod to their highly entertaining fake Facebook bio where they describe themselves as one of the most distinctive, influential and extreme thrash metal bands of the 1980s.

“Dear Enemy” is a solid start for Maximum Mad. Hopefully it won’t be long before they show the world what they are capable of across a full LP.

“Dear Enemy” is available here

Band info: bandcamp || facebook

HALLOWEEN PREMIERE: Alastor offer mind reaping fuzz worship on new EP "Blood on Satan's Claw"

Today on the morning of Hallows Eve, the beast that is Swedish doom band Alastor, meaning in Greek mythology, as the avenger of evil deeds, return with a new EP on cassette, 20 minutes of mind reaping fuzz worship entitled "Blood on Satan’s Claw" and guaranteed to make you blood run cold.  

Set for release through Swedish label Ljudkassett on the 15th November and featuring two tracks, one original and one cover of the Creedence Clear Water track “Bad Moon Rising”, today we are happy to exclusively stream the EP in full as well as a short interview with Alastor guitarist Lucy Ferian both of which you can check out below.    Preorders for the EP are available here

Can you give us an insight into how you started playing music, leading up to the formation of

Lucy Ferian: Music has always been a huge part in the formation of who I am. I remember sneaking into my older sister’s room to look at her Iron Maiden records at an early age. Those album covers fascinated me, especially the cover to”The X Factor”. So it was not unexpected that when the rest of the kids my age played football or drove around on shitty mopeds I started to play guitar. To be honest I sucked pretty hard. 

I played in some hardcore bands and played in a rock band before Alastor, none of which really got anywhere. You can say that when I joined Alastor everything sort of fell into place for me, both musically and aesthetically. 

For followers of the blog unfamiliar with your band, is there any bands on the scene past and present that you would use as a reference point bands to describe your band, and who or what continues to
inspire you and push you to try new things?

Lucy Ferian: With the risk of sounding like a pretentious asshole, for me that is up to the listener to decide. It’s not that I think that Alastor is unique in light of the present doom scene, it’s just that I’m not in the slightest interested in comparing ourselves to other bands who play this kind of music. It’s not constructive to me. We in the band all come from different musical backgrounds and the things that inspire us comes from all kinds of music and art. A few bands that I’ve listened to a lot during the recording and writing of “Blood on Satan’s Claw” are Camel, Pink Floyd and Black Magic SS

What can you tell us about your upcoming release “Blood on Satan’s Claw” and where do you
feel it sits within the context of current doom scene?

Lucy Ferian: “Blood on Satan’s Claw” is a step further on our musical journey. We allowed ourselves to experiment a lot more on these two tracks than we did on the “Black Magic” album. To be honest we are kind of out of touch with the present doom scene but in the context on a more personal level this EP is a huge accomplishment for us as musicians. 

Does anything spring to mind when you think about the completion of this new release and how is the mood in the camp at present?

Lucy Ferian: Probably listening to the final mix of the track “Blood on Satan’s Claw” for the first time. It was such a heavy experience to finally hear the final result on high volume. The journey from the recording to the final result of this EP has been a long and difficult one but now we can finally move forward. We look forward to corrupt more and more minds.

What stands out as your overarching memory from the recording sessions?

Lucy Ferian: When recording the “Bad Moon Rising” cover we stumbled upon a cellist who just happened to be recording in a smaller studio connected to the one we recorded in. I think the part which he played really gave the cover a whole new feel. Sometimes you need luck to write good music. 

With you new record in the bag, how is your schedule shaping up over the next 12 months?

Lucy Ferian: We are currently working on what will be our first real full length album. When and how that will manifest is yet to be revealed. 

Finally, do you have any last words?

Lucy Ferian: Listen to Pink Floyd. 

The End

Band info: facebook || bandcamp

Monday 30 October 2017

ALBUM REVIEW: DeathCrawl - "Acceptable Level of Misery"

By: Ernesto Aguilar

Album Type: Full length
Date Released: 27/10/2017
Label: Independent

Although DeathCrawl is undeniably vicious, what makes it good and, more importantly, not annoyingly divergent for divergent's sake, is that it never strays too far from the essence of what it does best, delivering 8 tracks of impenetrable doom, and this album is a timely reminder that one of Cleveland's finest bands are back in business.

"Acceptable Level of Misery" CD//DD track listing

1. False Oracle
2. Zenith
3. Universally Diminished
4. Entombed By All The Things We Seek
5. Corrupted Earth
6. No Good At Living
7. Derelict
8. Perpetually Damned

The Review:

Cleveland's DeathCrawl has developed major below the surface buzz for its brand of brutal sludge. Although its output has been slight (with 2008 debut, "The End Is Not Near Enough," the 2010 EP "This Is the Way the World Ends..." and the sophomore full length "Accelerated Rate of Decay" in 2012 to its credit), live shows and a regional renown have made it a Midwest force to be reckoned with.

DeathCrawl, the vehicle of Damon Gregg, Dave Johnson and Jason Luchka, is back with its first release in half a decade. "Acceptable Level of Misery." The trio, veterans of a string of local acts, have cemented their reputation by forging sludge mixed with grindcore, crust and progressive metal. If that seems like an entrancing hybrid, it is. Add to that DeathCrawl share vocal duties among band members, and you encounter a crew that is quite different in many respects.

Although DeathCrawl is undeniably musically vicious, what makes it good and, more importantly, not annoyingly divergent for divergent's sake, is that it never strays too far from the essence of what it does best. The group stretches its creative muscles at many turns, but its members do not get too experimental and risk the listening experience. Thus as opener "False Oracle" smashes you with hardcore, the doom roots of it are never far away. As with "Zenith," there's a bit of grind there, but the doom-nested bass remains prominent. The heavy pendulum swings back to sludge by "Universally Diminished," while welcoming progressive metal to its fold.

Much has been written about DeathCrawl's multi-vocalist attack. If you are not as familiar with the group given its discography, but have heard other performers employ more than one or even two vocalists, the number of looks it gives this band is especially interesting. Each singer has a very individual style, and so the progressive tracks get the right treatment, just as the harder cuts get the singing and/or growling needed to pull of the best cuts possible. DeathCrawl make a statement with entries like "Corrupted Earth," with clean vocal, and "No Good At Living," which blends a snarling lead with a more full-throated singing accompaniment. Again, its diversity for the sake of making better music, as opposed to the malady afflicting a few releases, where groups change it up for no discernible reason.

DeathCrawl's solid return wraps up with "Derelict," a melodic doom metal track, and "Perpetually Damned," which hoes some of the same fields the opener did, almost bookending "Acceptable Level of Misery" in some ways. Both tracks are impenetrable doom, and remind you some of Cleveland's finest are back in business.

"Acceptable Level of Misery" is available here

Band info: bandcamp || facebook

ALBUM PREMIERE & REVIEW: Weed Priest - "Consummate Darkness"

By: Ernesto Aguilar

Album Type: Full Length
Date Released: 31/10/2017
Label: Cursed Monk Records

If you are a fan of Weed Priest's ultra-heavy music, you will walk away pleased. However, those new to the now-quartet will also be impressed by such additions turning out its best work so far.

"Consummate Darkness" CD//DD//LP track listing

1. Witch's Curse
2. Vampyr
3. Sky Daddy
4. The Mass

The Review:

It is quite a feat for a metal band to have a really distinctive opener, one that seizes your attention with its sound and fury. So when Irish blackened doom band Weed Priest launches its new album, "Consummate Darkness," with the song "Witch's Curse," a blistering opus if ever there was one, you can't help but stand at attention. Dishing out classic metal into the denser style of today, Weed Priest's uniquely heavy return is most welcome.

The group dropped a demo in 2011, then a full-length in 2013 and an EP in 2014. After changes to its squad – Weed Priest switched drummers and added a guitarist during this period – the four-piece issued splits in 2015 (with Astralnaut) and 2016 (with Black Capricorn). Adding players is always iffy business. "Consummate Darkness" marks the first chance for Weed Priest to spread its batlike wings on a full length using its fresh lineup.

Vocalist Adamus de Sabbator gets one hell of a backdrop to build on with that opening cut. And on "Vampyr," a track that surfaced as a preview to the album, he flips the vocal to be especially haunting. Paralleled with guitarist Sean Sullivan, de Sabbator's riffs as well as Sullivan's prove intimidating too. The vivid lyricism gets a fun touch with clips from German filmmaker Werner Herzog's 1979 adaption of "Nosferatu the Vampyre," featuring longtime collaborator Klaus Kinski and, for the sake of the song, Ronald Topor's wonderfully unhinged performance as Renfield. "Vampyr" comes in at just over 10 minutes, but feels quite complete, without bloat or overlong elements.

"Sky Daddy" brings Weed Priest back to familiar ground as some of its past work. The song is undoubtedly more on the classic metal and stoner vibe you may have heard before when the group was just a trio. Bassist K.H. Rhaagulus does a particularly good job of knitting the cut together by balancing his playing with the drums and adding some ballast to the twin guitars. Overall, it a pleasing entry, and certainly red meat for the stoner rock heads out there.

"Consummate Darkness" closes out with "The Mass," a 14-minute-plus slab of aural concrete hurled at you. Here, all of Weed Priest's parts come together seamlessly. Bass and drums build slowly, until the guitars swoop in. This is doom at its best, and the black metal-inspired growls mixed in to make those ominous guitars feel all the more threatening. "The Mass" demonstrates a new maturity for Weed Priest. The song is deliberate in a different way than some of its better past work, and the added guitar offers far more depth than previous outings. A critical ear might suggest the solos 11 minutes in might be a bit much, but they are forgivable, given all the energy the group puts into such a sterling cut.

If you are a fan of Weed Priest's ultra-heavy music, you will walk away pleased. However, those new to the now-quartet will also be impressed by such additions turning out its best work so far.

"Consummate Darkness" is available to preorder/buy here and you can stream the album in full below ahead of release on Halloween. 

Band info: bandcamp || facebook

REVIEW: Ten Ton Slug - “Blood and Slime” [EP]

By: Richard Maw

Album Type: EP
Date Released: 31/10/2017
Label: Independent

Ten Ton Slug is like Crowbar jamming with Sabbath, by way of Eyehategod. The riffs are massive- and surprisingly catchy- whilst the production is raw and pushes everything into the front and into the red.  There is some great metal coming out of Ireland and Ten Ton Slug are making it.

“Blood and Slime” CD//DD track listing:

1). Slug Grinder
2). Matriarch of Slime
3). Siege

The Review:

Ireland's Ten Ton Slug are producing some massive, guttural and feral sludge/doom. This three track EP should further establish these Galway men of metal at the forefront of the Emerald Isle's metal scene. To give you an idea of what to expect for those new to the band, this is like Crowbar jamming with Sabbath, by way of Eyehategod. The riffs are massive- and surprisingly catchy- whilst the production is raw and pushes everything into the front and into the red. Vocals are guttural, drums are punchy, guitars and bass are low and slow.

You get three tracks with only one coming in just under seven minutes. Of the three on offer, it is hard to pick a winner; as it should be with EPs. “Slug Grinder” is heavy and not without catchy elements, while “Matriarch of Slime” is a chugging beast of huge proportions- with a cool lead break down the middle. Perhaps the ten minute epic “Siege” is more your bag? Huge in sound and scope, this is as weighty as it gets, with a surprisingly clear lyrical narrative.

If you have an interest in any of the three bands mentioned above, you should check out this excellent EP. The band sound fully committed to the cause and, having seen them live, I can reliably inform you that they take no prisoners on stage either. There is some great metal coming out of Ireland and Ten Ton Slug are making it.

“Blood and Slime” is available here

Band info: bandcamp || facebook

Sunday 29 October 2017

ALBUM PREMIERE: Polish stoner space riders Red Scalp unmask "Lost Ghosts"

Red Scalp is a four piece stoner rock band from Pleszew, Poland, a country it seems with no shortage of awesome bands who plow the furrow of tar thick riffs, against a back drop of hazed out fuzz.  You know the type, riffs and tones that envelop you with that warm and space out glow.  Describing their influences as Sabbah is perhaps no surprise; however an underlying theme running through their music is their love of Native American (perhaps more commonly known as the indigenous people of the Americas) history.

Formed in 2012 Red Scalp attempt to encapsulate the spirit of their source material, often using samples of authentic chants against a backdrop of psychedelic riffadelia, delivering a unique and mesmerizing behemoth of stoner doom jams.  Following their debut EP in 2014 and their first full length in 2016, these polish stoner space riders are back with a new album, set for release on 31/10/2017.

Today ahead of it’s official release we can exclusively premiere their  new album “Lost Ghosts’ in all of it’s ritualistic splendours.  Check it out below. You can preorder/buy it here

Band info: facebook || bandcamp

Saturday 28 October 2017

INTERVIEW: Greekbastard discusses positive endings with Phoenix, AZ’s sludgiest band Horse Head

Don’t you just hate it when you’re just starting to dig a band and then they call it a day?  This year it’s Horse Head for me, one of the sludgiest bands to rise up from the heavy music hotbed of Phoenix, Arizona.  THE SLUDGELORD had questions for Horse Head vocalist Chris Gisriel and he left nothing on the table as Horse Head rides off into the proverbial sunset…    

“Terminal” is what I like to refer to as a posthumous release.  This is pretty unfortunate since Horse Head is adored by many.  What lead to the decision to disband and more importantly, how did “Terminal” survive? 

Chris Gisriel: I feel like I should say that one of us has some kind of terminal illness and is spending the rest of their remaining days travelling the world or something but the honest truth is that we all got really busy with our personal lives. Wilson and I are both heavily invested in higher education, Jonathan has another band (Sorxe) that is really taking off, and Drew has a family and career. As much fun as we’ve had over the years, we all felt like it was time to close the door on Horse Head.

We had some music that we knew was some of the best we’d ever made, and we wanted to leave our fans with something more. We’re happy to call it a day by releasing an EP that we’re proud of.

In 2015, you released your previous EP, “Missionary” and it received plenty of positive reviews.  Can you fill in gaps on what Horse Head was up to between the “Missionary” release and up to your final show this past August? 

Chris Gisriel: Wilson (Hensleigh) wrote the majority of the music we’ve made and while I blame him for writing slower than most, I also credit him for being an incredible musician. After releasing “Missionary” we wanted to avoid playing larger venues and focus on smaller, more intimate shows. There wasn’t much of a method to that madness – we just like playing smaller shows. I think I speak for all of us when I say that we’d rather play a loud house show where a donation can is passed for the touring band than a big venue where we have to sell tickets. We’re not knocking the latter. It’s just not our thing. In the last couple of years I think we’ve focused on what we’re comfortable with rather than selling our souls to be a big name. Maybe that just means we’re stubborn old fucks, though.

The last show we played was awesome. The touring band cancelled and we were worried that the show would take a hit on attendance but it turned out that a ton of people showed up just to see Horse Head’s last show. I think we played a great set and everyone was really supportive. We accepted pocket change for the last of our merch.

Did you shop any labels to release “Terminal” or for that matter, “Missionary”? 

Chris Gisriel: Nope. We never even had the conversation. One of my favorite things about Horse Head is that it’s always been unadulterated by a need for big promotion or fame. We play heavy metal and we do it well. That is our only aim.

In the late 80’s, Arizona put its stamp on the heavy metal world with bands such as Flotsam and Jetsam, Sacred Reich and Atrophy.  Is it me, or is it happening again with bands like Gatecreeper, Spirit Adrift and North? 

Chris Gisriel: I’m not sure it’s a fair comparison because in the late 80’s popular music was a little more in line with metal. Even now, Flotsam and Jetsam can tour and the old metal-heads still come out to party. Doom has a much more underground following and I think that its fans will look back at some of the popular AZ bands now and admire what they did for underground music. They’ll never be quite as popular, though. But that’s what is so great about doom and sludge: its lack of popularity is intrinsic. It’s counter culture. It’s anti-pop. That’s why it’s so awesome.

So now that Horse Head is no more, are there any new bands/projects in the works for the respective members? 

Chris Gisriel: I keep buying gear and basically filling a room for the day that special guitarist walks into my life. Seriously, I will definitely continue playing music. I play a few instruments and don’t feel comfortable unless I’m screaming my head off periodically. I can’t speak for Wilson or Andrew but I know that Jonathan has big things in the works for Sorxe. We love those dudes and wholeheartedly support them.

Horse Head has recorded both of their EPs at Audioconfusion Studio in Mesa, Arizona.  Why did you choose Audioconfusion for both of the recordings? 

Chris Gisriel: Jalipaz at Audioconfusion is a nationally renowned audio engineer and here he is, in our own back yard; of course, we’re going to take advantage of that. Much of Arizona’s best metal has come from his recording. He’s a friend and he knows how to record the Horse Head sound.

Any last words for your fans?

Chris Gisriel: We hope folks take a few minutes to check out some of the music we’ve made, especially “Terminal”. We put our heart and soul into it from the riffs and lyrics to the money and gear. Our only hope was to put our brick into the wall that consists of the music we love. We mostly want people to head bang to our music when they’re alone in their car. That would be ideal.

Band info: bandcamp || facebook

INTERVIEW: Woe at Shadow Woods Metal Fest, September 14 – 17 2017

By: Mark Ambrose

From September 14-17, hundreds of metal fans descended on White Hall, Maryland for a weekend of camping, music, and generic mayhem at the third annual Shadow Woods Metal Fest.  THE SLUDGELORD was on the scene and managed to snag a few interviews with performers, artists, and the people behind this unique, amazing musical event.  As part of our coverage, we sat down with Chris Grigg (guitar and lead vocals) and Grzekiek Czapla (bass) of Brooklyn black metal powerhouse Woe before their set on Saturday, September 16.  Chris and Grzekiek took a few minutes to discuss their new album, “Hope Attrition”, their new label Vendetta Records, and the future of Woe after a lengthy hiatus and lineup changes.

What are your thoughts on Shadow Woods so far?

Grzekiek: Really cool fest, cool people, organized as FUCK.  The bands are sick.  I’m really happy to be here.

You recently put out “Hope Attrition”, your first release with Matt Mewton (guitars) and Lev Weinstein (drums).  What’s the difference with their presence in the band as opposed to your prior releases?

Chris: They were super on top of shit.  This was the smoothest recording.

G: The most prepared that we’ve ever been for an album.

C: Not to say that people in the past were unprepared but this was just very low stress.  It was also the first album since the very first one that I didn’t record on my own.  So that was very helpful that I didn’t record shit.

G: Oh yeah!  Chris didn’t record this one!

C: Thank fucking god.

Who were you working with in the studio?

C: Stephen DeAcutis in Edison, NJ – he recorded Evoken [2007 “Caress of the Void”], Disma.

G: Legend!

C: Amazing studio, amazing engineer.  Sick dude.  But Matt and Lev rule! Grzekiek rules!

G: Probably, hopefully this is the band.

C: It fucking better be.

So it feels nice and secure for now?

G: It feels forever.

There was a pause between 2013’s “Withdrawal” and this.  What were you working on in the meantime?

C:  Mostly I wasn’t playing music.  I took a lot of time off for life things.  G was doing life things.

G:  We were completely in communication.  Best friends, hang out.  We just weren’t playing. 

C:  He was doing other band stuff.  I switched careers and really just needed a bit of a break.  I was pretty burnt out.  And a nice thing about not having to depend on it to make money we have the flexibility of saying, “Yeah, we’re not gonna do it.”  I got healthier – I’m not like a totally depressed, anxious person, the way I used to be.  I just took some time to be a better person and hit restart on the whole project.

This is your first album with Vendetta Records.  How has that relationship been so far?

C: Amazing.  AMAZING.  Stefan [Klose] is the coolest fucking dude.

G:  The first label we worked with where it felt like they are on our side.

C:  Totally, all the time.

G:  They are an awesome label and are successful because of it.

Who are you looking forward to seeing today?

G:  Motherfucking VASTUM.  And yesterday, Human Bodies blew me away.

C:  We kind of want them to just play our set for us.

What do you do in your non-Woe time?

C:  I’m a developer – code.

G:  I’m a geologist.
2 parts Woe, 1 part SLUDGELORD

Are you guys multitasking with any other projects?

C:  Matt and I have a new band called Death Icon – just raging, thrashy black metal.  I’m drumming for that.  Back on the kit.  I did the first Woe album and had a grindcore album with my friends Unrest a few years ago with the guys from Crypt Sermon.  NAME DROP! 

G:  Alright with the name drops.

C: Ok I can keep going.

G: Sonja – we’re a three piece.  We fucking rule – fucking absurdly rule.  With Melissa Moore and Ben Brand.  Sisters of Mercy meets Type O Negative meets Manowar and Judas Priest.  Classic rock, just heavy metal.

C:  Heavy metal with like a goth, dark, deathrock vibe.  I would quit my job and move back to Philly to play bass – no, second guitar.  Everyone who hears it wants to be in this band.

And are there any events you want to promote?

C:  We’re playing with Nails and Couch Slut in Brooklyn on November 18

G: Much respect to THE SLUDGELORD!

The End

Band info: facebook || bandcamp